Joy Gardner teaching credentials:

  • BFA degree in Music Dance Theater from Brigham Young University Provo, UT
  • Drama teacher at Heritage Academy 2016-2019
  • Music adjunct faculty at Mesa Community College 2010-2011
  • Guest lecturer at University of Florida Musical Theater department 2008
  • Music adjunct faculty at Brigham Young University 2001-2004
  • Joy Gardner teaching studio established 1999

POSTURE




A=Ideal Alignment

FLEXIBLY ERECT POSTURE

1. Rib cage high throughout both taking a low breath and singing.
2. Let the back lengthen and widen. Allow the shoulders to roll back and down (Demonstrate with back against the wall.)
3. Let the neck be long and free, allowing the head to lift up and away from the spine. This leaves space for the jaw to release and open the vocal tract as is needed on all vowels, but particularly for those vowels sung on higher pitches. Higher pitches require even more vocal tract space in order to preserve full, beautiful singing.
4. Hips brought forward in alignment with the upper torso while the buttocks are rolled slightly back and down. The singer should find a middle point between a full forward and a full rearward rotation of the hips.

A.
• Rotate hips as to hold up a hula hoop
• Slither the spine like a snake
• Break dance

* SHORT CUT: Take a whole bodied LEAP as if into freezing cold water
(purpose - Establish watery/fluid structural interrelationships in the body)

B.
• “While standing tall, start bending over slowly, letting the head lower first, then roll the shoulders forward as if you are trying to stretch the spine and separate each vertebra from the one below it until you are fully bent over. Stay in this position a few seconds and breathe deeply, being conscious of where you feel expansion; then reverse the process, returning to the upright position as slowly as you can.” McKinney, pg. 36
• Reach for apples- breath falls to the abdominal floor between each fragment of the warmup
• Reach for tall, heavy suitcases- Chest out over toes; top of neck back over seat, shoulders rolled back. (purpose- Get body structures and breath foundation as far away from the larynx as possible.)

Clayne W. Robison, "Beautiful Singing: Mind Warp Moments" (Clayne W. Robison 2001)
James C. McKinney, "The Diagnosis & Correction of Vocal Faults" (Waveland Press 1994)
Betty Jeanne Chipman, "Singing with Mind Body & Soul" (Wheatmark 2008)

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